Movies
The Tortured Rodents Department: Revisiting ‘Willard’ (2003)
This remake is meaner and darker than the original, and just as the film works to balance the absurdity of its premise with the psychological turmoil at its center, Glover likewise commits to the bit. It’s a testament to his abilities as an actor that he can convincingly have beef with an engorged rat and you often don’t know whether to laugh or cry during one of his multiple psyche-breaking meltdowns. You feel bad for giggling, but then Glover gets that borderline perverse look in his eyes reminiscent of his hair-sniffing assassin in the early aughts Charlie’s Angels movie, and you know it’s all good. Willard is still a wild late-night watch about a rat king gone mad, especially if you have a twisted sense of humor.
While on trial for impiety and corruption in 399 BC, the philosopher Socrates reportedly said, “The unexamined life is not worth living.” In 2003, while lamenting a miserable life in her dilapidated home with her son Willard, Henrietta Stiles proclaims, “All my life I could smell mice.” What is the correlation between ancient history and this iconic line delivery? By the end of our reexamination of writer/director Glen Morgan’s remake of the 1971 original, you’ll understand just how the Grecian sage and this dour tale meet – in a film where the enigma of existence pushes one man to the brink and the lines between human and rodent blur.
The Crispin Glover of It All
Today, it would be deemed heretical not to practice some form of introspection and examine one’s place in society (and tell everyone online about it), yet when we are introduced to the downtrodden Willard – uncannily embodied by the effortlessly creepy Crispin Glover – we find him at odds with Socrates’ teachings. Trapped in a dreary routine caring for his sickly mother and working a dead-end desk job at his late father’s company, Willard’s spirit is down bad. A peculiar fellow with pallid skin and a greasy middle part, he seems like a good guy despite appearances, but his overbearing mother and scumbag boss – who only keeps Willard around to honor his father’s dying wish – kick to the curb any growth this man approaching 40 might yet achieve. Things start looking up, however, when the failed extermination of a rodent infestation introduces Willard to an adorable white rat he names Socrates. With a new BFF and a growing hoard of long-tailed loyal subjects, man becomes mouse as he leaves civilized society behind with wild abandon toward a more vengeful path.
Morgan’s previous work on projects like The X-Files and Black Christmas (2006) comes into play here, as suspension of disbelief is critical when kicking back with Willard. It’s never explained how he attains an almost supernatural connection with his rat pals or why they seemingly make human-like choices and have rich internal lives, but much like AI, this sentience is something to be feared. If bestie Socrates symbolizes the philosopher’s moral guidance and positive influence over our antihero, the insidious rat Ben, whom Willard makes the commander of his rodent army, represents intrusive thoughts and lustful revenge. Villains like Willard’s detestable boss quickly become nuisances for his hordes to decimate, and soon Ben rises as the central antagonist in Willard’s battle for his humanity.
This remake is meaner and darker than the original, and just as the film works to balance the absurdity of its premise with the psychological turmoil at its center, Glover likewise commits to the bit. It’s a testament to his abilities as an actor that he can convincingly have beef with an engorged rat and you often don’t know whether to laugh or cry during one of his multiple psyche-breaking meltdowns. You feel bad for giggling, but then Glover gets that borderline perverse look in his eyes reminiscent of his hair-sniffing assassin in the early aughts Charlie’s Angels movie, and you know it’s all good.
Grey Gardens
The film’s two central locations – Willard’s derelict family home and a barren, depressing office – immediately set the visual tone. The camera sits perched high like a rat in the rafters, causing the manor to appear quite spacious. Still, the set design gives more Resident Evil than Nancy Meyers, and likewise, his prison-like workspace serves sweatshop over white collar. Much like Willard’s inner life, his daily environment is bleak. That’s not to say there isn’t a light in all the melancholy haze, and in an unexpected twist, this comes in the form of a very familiar maternal bond.
Between the rundown palace and their parasitic relationship, Willard and his mother Henrietta (Jackie Burroughs) are warped versions of Big and Little Edie Beale of Grey Gardens infamy. Stuck in the rot of the past, it’s no wonder Willard can’t evolve, and their toxic relationship provides quite a few cringe-worthy laughs. Accusations of Willard using cooking oil as lube when, in reality, he was holed up in the bathroom to talk with Socrates and a desperate insistence on knowing the physical consistency of his #2 are just some examples of her inappropriate interference at his grown age. And speaking of Morgan’s Black Christmas, Burroughs’ performance is so similar to Karin Konoval’s equally icky turn as the killer’s alcoholic mother in the holiday horror that I initially thought the two were one and the same until IMDB proved otherwise.
And let’s not forget why we’re really here. While Socrates may provide the cute puppy vibes, Willard’s bubonic army will likely have you squirming in your seat and Googling plague symptoms by the time the credits roll. Morgan and cinematographer Robert McLachlan craft an ingenious inverse cat-and-mouse chase sequence from the perspective of an unlucky kitty, and their skill genuinely rivals some of the slasher genre’s best. Once the historic battle between Willard and Ben comes to blows, that haunted old house is finally full of life in all the wrong ways, and you have every reason to believe in the formidable power of the hoard. I’m sure Glover loved every foul minute of it.
Does It Hold Up Today?
Unfortunately, the cruelness of the world doesn’t go out of style. This dark cautionary tale about what happens when the human spirit is shattered is still relevant today, even when “human spirit” = “strange man who can commune with rats.” If not allowed to flourish, people left in the gutter might sometimes emerge as something less than human, and when we look the other way, we will enable it to happen. In this sense, perhaps we can all smell mice. And if you don’t want to think too deeply about it, Willard is still a wild late-night watch about a rat king gone mad, especially if you have a twisted sense of humor.
Looks like another July will be spent getting cozy with Shudder in this house. Between all the new (to me) international titles and the conclusion of Hell Motel on July 29th, the app has filled my calendar for the month. Hold my texts, keep your emails in the draft folder, and don’t look for me outside. My TV and I are on a mission, and we’re prioritizing the five titles below. I hope they grab your attention and make it into your Shudder viewings this summer as well. However, I’ll be too busy watching them to know what anyone else is doing, so happy streaming whatever you decide to get into.
While we have you here, you should consider joining us for Bloody Brunches! Every Sunday at 11 AM CST / 12 PM EST, we’ll be livestreaming a new episode of Hell Motel. Who know’s who you’ll see, sometimes Ian Carpenter and crew stop by!
The Best Movies to Stream on Shudder This Month
Lake Placid (1999)
A small group of people try to capture a gigantic crocodile terrorizing the people of Black Lake, Maine. I am not an aquatic horror girl, and I am usually unimpressed with 90s action horror titles. I make a special exception for Lake Placid though. Sure, it stars Bridget Fonda, Bill Pullman, and Oliver Platt. However, real film buffs know that it’s really the late Betty White who carries this movie. Her foul-mouthed character stood on business and is the reason most of us revisit this title during the summer.
You can watch Lake Placid on July 1st.
Nyi Blorong (1982)
The South Sea Queen’s daughter rises to take a human lover. I have a long history of disliking snakes and movies about snakes. However, I’m leaning into this 1982 film because I deserve a retro Indonesian horror fantasy moment. I am also excited because it stars the late Suzzanna, the queen of Indonesian horror. I only learned about her a few years ago and wanted to spend some time with her work. As usual, Shudder is making it too easy to become a better cinephile.
You can watch Nyi Blorong on July 7th.
The Housemaid (2018)
An orphaned girl is hired as a housemaid at a haunted rubber plantation in 1953 French Indochina. Once there, she falls in love with the landowner, which sends the ghost of his dead wife into a jealous rage. I was excited to watch this just because it sounds chaotic, and I do not see enough Vietnamese horror for my liking. However, I recently discovered it is also an IFC Midnight title, so now my expectations are through the roof. IFC has been the home of upsetting, weird, and unique horror since 2010. I have a date with Shudder on July 14th, because I want this movie in my eyeballs the second it becomes available.
You can watch The Housemaid on July 14th.
Swallow (2020)
A pregnant housewife is compelled to eat dangerous objects, leading her husband and in-laws to become more controlling. Swallow had the misfortune of debuting during the top of the pandemic, so many people missed it. I found it on accident during Thanksgiving back when Showtime still had its own app. It’s quiet chaos that surprised me in a good way. I have been trying to make everyone I know watch it, and Shudder is making that so much easier this month. I am overdue for a rewatch myself, so I will also be hitting play while it’s available this July.
You can watch Swallow on July 21st.
Monster Island (2024)
A Japanese ship transporting prisoners of war and a British POW are stranded on an island where a mythical creator hunts them. Can they work together now that their very survival depends on it? I was bummed I missed this movie at Overlook Film Fest this year because all my friends loved it. So, obviously, I am thrilled Monster Island (also known as Orang Ikan) is hitting the Shudders streets so soon. I do not know what the other monster movies are doing this July because my heart belongs to this baby.
You can watch Monster Island on July 25th.
So, as usual, I will be hiding in my apartment and trying to make Shudder Saturdays my personality. I’m running at their international titles like it’s my job and revisiting a few movies I never spend enough time with. I hope your Shudder watches spark as much joy for you as I expect mine will this July.
In the 90 years since its release, The Bride of Frankenstein is still the Universal Monsters franchise’s strongest film.
I first watched The Bride of Frankenstein on cable around 15 years ago. Director James Whale’s fable of a misunderstood creature’s quest for a bride really stayed with me after subsequent viewings. Speaking of The Bride, she’s the Universal Monster with the most potential for a gripping and modern reimagining that hasn’t been fully tapped into yet. Universal’s newest theme park Epic Universe, opening back in May, inspired a deeper dive into The Bride of Frankenstein, the titular role and its legacy.
Unveiling The Bride: The Plot and Power of the 1935 Classic
Immediately following 1931’s Frankenstein, The Bride of Frankenstein centers on Henry Frankenstein (Colin Clive) as the sinister Dr. Pretorius (Ernest Thesiger) urges him to collaborate on creating a mate for The Monster (Boris Karloff). In the meantime, The Monster travels across the countryside, learns to speak, and meets Pretorius. When both scientists complete and unveil The Bride (Elsa Lanchester), she rejects The Monster, motivating him to pull a lever and famously say, “We belong dead.” Pulling the lever ignites an explosion, killing The Monster, The Bride, and Pretorius.
Just as it took two scientists’ minds to create her onscreen, two individuals gave life to The Bride’s characterization and look: Lanchester and makeup master Jack Pierce, who designed nearly all the original Universal Monsters.
The Bride’s Hiss: How Lanchester Stole the Show with Limited Screentime
The Bride not being the film’s main protagonist is ironic since she’s the title character. Making the most of her brief performance, Lanchester’s swan-like mannerisms as The Bride sharply contrast with the humanity Karloff brings out of The Monster. After her dual role as The Bride and author Mary Shelley herself in the film, Lanchester took on more horror film roles like Henrietta Stiles in Willard (1971). It’s not hard to imagine what could’ve been for her career if she reprised her role in The Bride of Frankenstein’s sequels Son of Frankenstein and Ghost of Frankenstein. If a lab explosion couldn’t kill The Monster, wouldn’t it be the same for The Bride?
Besides the white streaks, Lanchester surprisingly didn’t wear a wig to portray The Bride since Pierce shaped her red hair to look the way it does. Pierce’s work on The Bride is just as iconic if not more so than Lanchester’s performance, ensuring the character became inseparable from her intended suitor in pop culture’s eyes. Case in point: There’s so much officially licensed merchandise playing up a romance between the two characters, even though The Bride can’t stand her intended mate. Beyond Lanchester and Pierce, there is one man responsible for how the film itself would come out.
James Whale’s Masterpiece: Directing The Bride of Frankenstein
Whale stitched great set designs, fantastic performances and composer Franz Waxman’s eerie score together to create a masterpiece.
Having Frankenstein, The Old Dark House and The Invisible Man under his belt by the mid-‘30s, it’s clear Whale creatively peaked while working on The Bride of Frankenstein. Although so much about Whale’s talents has been said, there’s a reason why his work on the film stands out across his filmography: He really went wild when directing it. Every character is practically cartoony, the sets are more elaborate and the plot is thematically richer than the original’s. Being an openly gay filmmaker, he cranked up The Bride of Frankenstein’s camp to legendary heights.
The Bride of Frankenstein is the final horror movie Whale directed. The novel Father of Frankenstein and its film adaptation Gods and Monsters, starring actor Ian McKellen as Whale, dramatize his life after directing the film. According to the reference book Universal Horrors by Tom Weaver, Michael Brunas and John Brunas, he initially didn’t want to direct his horror work’s apex. Just like Henry Frankenstein’s relationship with the monster he created, The Bride of Frankenstein’s production is a case of life imitating art. The Monster’s in-universe infamy further parallels Whale’s Frankenstein duology’s lasting popularity.
How The Bride of Frankenstein Shaped Horror Sequels and Adaptations
The Bride of Frankenstein’s influence can be seen across other horror films and Frankenstein adaptations.
Having “Bride of” in a horror sequel’s title is synonymous with including the main character’s female counterpart, leading to Bride of Re-Animator, Bride of Chucky, etc. The similarities go further than the titles, with The Bride of Frankenstein inspiring the former’s plot and furthering Tiffany’s arc in the latter. The Bride of Frankenstein inevitably shaped Frankenstein’s future adaptations as well.
Directed by Kenneth Branagh, Mary Shelley’s Frankenstein from 1994 closely follows the original novel. Breaking away from the novel’s narrative, its third act pays homage to The Bride of Frankenstein when Victor brings Elizabeth back to life with similarly brief screentime. Mia Goth’s seemingly red hair on the set of Guillermo Del Toro’s upcoming Frankenstein may hint at her character similarly becoming The Bride.
The Bride’s Untapped Potential for a Modern Horror Remake
With Warner Bros. releasing its own take on the character with The Bride! in 2026, it makes Universal’s reluctance to make a new remake downright egregious.
The Bride is still the literally redheaded stepchild among the Universal Monsters. When it comes to being neglected by Universal, The Creature From the Black Lagoon is the only character who rivals The Bride, but that’s another story. Universal did plan a remake directed by Bill Condon, who helmed Gods and Monsters, for its aborted Dark Universe film franchise.
The Bride’s Absence in Epic Universe’s Monsters Unchained Ride
Looking at Epic Universe, the Monsters Unchained: The Frankenstein Experiment ride apparently leaves The Bride out, even though she makes more sense to be in it than The Phantom of the Opera. However, The Bride does make meet-and-greet appearances across Dark Universe’s grounds.
Several ideas can be incredible for when Universal finally releases a remake of The Bride of Frankenstein someday. Based on what I’ve heard about 2023’s Poor Things, it’s exploration of a mad scientist’s creation’s experiences in a restrictive society is closer to what a modern reimagining should be. Having a woman behind the camera can lead to a feminist vision, delving into The Bride questioning her life’s purpose.
Until the day a proper remake debuts, the original 1935 film remains The Bride of Frankenstein’s definitive incarnation.
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